sam

​Glad you got it! If you have more than just a couple of Dng folders to process for your project, there is a faster and very easy way to use Adobe Camera Raw compared to the Adobe Bridge route I shared in your previous thread. 1. Open AE, then click File> Scripts> Run script file> browse to the location of the Immigration script, select it and click ok. 2. A window opens and you simply browse to the location of your dng folders and double click. Let the script do its work and then select the dng folders you wish to import. You will get to use ACR on each file and have them ready to go for either immediate use in AE or simply select all and send to Render Queue for export.You will need to download the Immigration script http://aescripts.com/immigration ( free unrestricted for more than a month I believe.

Tupp gives excellent advice. Also, a high CRI for led doesn't always equate for a cameras sensor. TLCI is a more accurate measure (supposedly) recommended by the EBU. Here is a link to tests of a multitude of lights (Arri, Kino, Litepanels, Dedo, Fiilex, and many, many others) https://tech.ebu.ch/tlci-2012. (test is 2012-current I believe) It shows which lights would need zero, some, and a lot of post color correction. What tupp mentions about beam angle is also spot on (pun intended). A light manufacturer stating that a source is "equal to +++ watt tungsten" is completely worthless without the specs he mentions Here is a great write up I read a while ago http://wolfcrow.com/blog/a-comparison-of-9-led-fresnel-lights/ that may help with the 100w plus led fresnel decision. That said, for my intended purposes (portability for small projects), I went the broadcast battery powered led route. Purchased 2 of the Fiilex p360, (claims 360 tungsten equiv, but a bit less in my experience ) also (2) 1x1 92 cri daylight panels (claims 1k tungsten equivalent, maybe 650w tungsten equiv. before diffusion ) (3) 500 led panels, (3) 200 led panels, and Westcott Icelight . I'm still deciding on which higher output sources to choose, so also interested to hear some advice from those who have used 100w+ led sources.

I think you pointed out something interesting in the comments on Vimeo about the pinkish cast in Chrome. The difference in presentation of images between browsers (let alone different display devices) is quite noticeable. As an experiment, I tagged an image srgb and uploaded it to both my website and then to Facebook. Next, I opened both the website and Facebook images in both IE and Chrome. So now I had four images side by side. None of them looked the same in color or apparent sharpness. Just another pitfall to be aware of when making comparisons.

The fs7 is on fire. Especially enjoy Ed David's perspective. (Ed has a recent American Cinematographer interview) "The whole campaign of "Sony Skintones looks like crap" has been going on since the f900 vs Panasonic Varicam days - back before log recording. I find Slog 1 and slog3 with sgamut3.cine and sgamut to look really damn good right off the bat. Canon log - skintones to me look great. Red log gamma - again skintones look great in daylight lighting - get a little funky in tungsten lighting. but yes it's good lighting and good exposure. A7S skintones - I've found using the CINEMA or PRO setting to give the best skintones easily. anyway the worst things I've found with Canon C300 and C500 is highlight handling - same with the red epic mx and red one mx - you can't overexpose without the highlights looking as crappy as say the af100 or the hvx200 highlight handling - the dark ages of digital cinema on a budget. The Amira stuff I've seen does have this orange feel. At first I thought the sony f55 ftg looked bad - including stuff I shot on it but then I started to watch Nate Weaver's and Grugs work on it and I was so impressed I started using it. The FS7 and Amira are in their infancy - I'm sure once more people like you guys work with it, test it, and color it, we'll see what the cameras are possible of. And I, who used to hate the look of Red footage, find that dragoncolor and redloggamma graded well can look so incredible. The Age of Adeline trailer I saw, shot with dragon and anamorphic glass looked so good to me. Some stuff shot on alexa like that film "The Canyons" was some of the worst looking footage I've ever seen. Same with "They Came Together" and that guy I think shot "Wet Hot American Summer" which looks incredible. so it doesn't matter what camera it is, it's going to either look like s*%t or good, depending on lighting, lenses, and grade, and exposure of the image and the talent of the DP. "

I saw those tests a while back, and if I remember correctly, at least on one test, the 1dc's white balance was set incorrectly and I think they added grain?? I think you can download as well to avoid web compression. Will have to re-watch

First off, nice tutorial on imaging basics posted on dvxuser and elsewhere. Now on to my Q's. Were you some what scientific in your testing methods? , For the Epic Dragon what compression settings, which olpf, your debayer settings and gamma, iso or asa rating (set for optimal latitude or?), the scene captured and its dynamic range, nd filters with or without ir, resolving power of the lens, type of lighting ie.. plasma led, fluorescent, tungsten. color temp ? For Canon 1dc, c log or picture style? over iso 400? and were all other applicable settings the same for both cams? Then what size screen and its resolution did you view the images on? at 1:1 for both? Was your working colorspace for broadcast or cinema or was it srgb? On to the grade. Did you try to color match to each other, throw on a lut or ? This is especially important in the 1dc's case. The 1dc log looks great and you can push it around quite a bit, but the chroma noise comes quickly once colors are saturated, (Had the 1dc since it came out, and see it regularly, but for small screen and web, not an issue) Ppro also definitely causes problems for the 1dc. I didn't take time to figure out the problem like Andrew, I just found it didn't look as good as in other software and moved on early last year. 2- Different mfgs use different amounts of noise removal. Take the Fuji's as an example. Everyone (including me) loves their colors and raves about them. Look on any of the major review site comparison images and you will see very little noise, even when compared to some of the best sensors available at any price. The fine detail is also gone. It looks nice, but soft. Notice the 1dc is softer than other 4k cams. Very pleasing. (perfect imho). Draw your own conclusions. 3- Depends upon settings above as well as being subjective 5- Dxo (if you believe them) rate Epic as the best they have ever tested. 14.8ev and color bit depth on par with medium format Phase one. Other proper tests including the one I mentioned in my earlier post clearly show otherwise, and the often quoted and outspoken Shane Hurlburt completely disagrees. (subscribed to his inner circle and not impressed) Andrews blog is far better. 6-Straight out of cam most seem to agree. Much better options for making the epic pretty though. 8- 1dc definely has banding on smooth gradients , (even in non adobe products) Add some noise and most of the time your okay 9- ff6k on the Dragon is 1.25 (roughly) so it is actually minutely larger than the 1dc. 19 megapixels as well. 18 for 1dc " that's not important to me if the 1dc gives me no need to grade at all" Lets be reasonable. Can you honestly say you would make a movie (other than a doc or reality) where you wouldn't have it graded?

Jimmy, going Scarlet Dragon or Epic Dragon? and new or used? I was set to do the same in Dec. before the $$$ Dragon upgrade increase and Ebay had a nice selection, but I was outbid by a couple hundred dollars.

Not even Ebrahim believes that. "Filmmaking really began with technology, not through telling stories, because my 8mm movie camera was the way into whatever I decided to do. -Steven Spielberg" But I know what you're saying we can easily get caught up in the tech. That's exactly why I love the 1dc. Lets you easily create without a lot of tech knowledge. ​

Ebrahim said the image was markedly better and I wanted to know in which way. In general, are 8 bit jpegs better than 16bit raw? Is less resolution better? How about the latitute of each image? Log vs Linear? If anyone wants to easily compare the older non-Dragon Epic images vs 1dc images go to cinematography.net and download. Tests from other sources can also be found quite easily. Now if Ebrahim had said he was comparing images strait out of each cam I could possibly believe that, but he was testing, so I would assume manipulating images to their limits Believe me, as an owner of 1dc I wish that it was markedly better.

Markedly better how? As in a Prius gets better gas mileage than a Bugatti?

Speaking of technology switching to other things, shot side by side with fs700 raw (for the 4k hfr) at a skijoring event (ski racing with dogs on a course) this weekend and I have to say the 1DC was Incredible. I mounted the 1DC on a DJI Ronin with a Cinemilled adapter on top of a monopod. I could hoist the monopod over the crowd and direct the camera with a twist of the wrist, or go inverterted and have the 1dc skimming on top of the snow close to the dogs. The 1DC is light enough that I didn't need any other rigging. (6"2 200lbs though) When I did tire, I could rest the mononopod and once again a slight twist of the monopod gave ultra smooth pans. Controlled camera functions over a usb controller attached to a Zacuto evf. Highly mobile with very solid footage. Focus control was lacking but I stopped down and shot wide as my remote follow focus was tied up on the fs700. Will definitely use this setup in the future.

Earlier Andrew mentioned we should have more females on this forum. There is something to that. On another forum I used my wifes name and its a whole different deal. I write the same but everyone act's humane. Unfortunately, (or fortunately depending on your view) the drama that Andrew helps create is what attracts views. (just check the threads with hefty view counts) I agree Germy1979, these threads are entertaining and where else will you get called out by a sites owner so quickly! I appreciate Ebrahim Saadawi trying to police, but I also notice it tends to lump those who are trying to have an honest discussion with those like Trias. (the threads a week or so ago involvinving JCS and Andrew comes to mind). JCS Is a perfect example of someone who handles himself with diplomacy and a level head on every thread. (There I go brown nosing again as Andrew calls it!)

Andrew you're the best

Andrew, I own the 1dc and do low end weddings once in a while so Simons undiplomatic posts caught my eye. I wanted to see what shaped his opinion. I value your opinion more than anyone else's. Just check my ip and see if anyone has visited your site more over the years. How's that for brown nosing ?

Beautiful. Experience may not equal good advice, but it sure makes for a polished product. What current Mfg in your opinion has the most true to life color science and also the most pleasing? I use Flicker camera finder to show hundreds of pics onscreen simultaneously by random users, all using the same camera (obviously lens choice and image manipulations come into play). It is a very good way to observe an overall look by a Mfg. Definitely something to be said for ccd's

Simon, knowledge is something I cannot get enough of (imaging related at least). Years of experience (which you mention) usually equate to knowledge and maybe even wisdom. So I might possibly learn from and value your perspective, could you share your background? (cameraop, colorist, dp)(stills or motion)(what cameras do you currently own and value of your current imaging gear)( broadcast, docs, commercials, web, print, etc...)(do you usually work as a one man band, a small group, or large teams)? It's understood if this is more than you wish to share. I will also mention I really enjoyed reading Doug Laurents thoughts on the 1dc in earlier posts and am now curios how your experiences have led to another conclusion.

Here is a 2015 test comparing different strengths of Ultracon, low con etc... Some of the filters look drastic, but If you open multiple browser windows side x side and pause the test on Clean, Ultracon, lowcon etc.. you can make a better comparison. Keep in mind small vs large viewing screens and different focal lengths change the strength of a filters look. I use Schnieder Digicon a bit, as it lowers highlights by adding black specs in the filter. As you can see in the test, it is almost like an optical log. I also have used Hollywood Blackmagic to take the digital edge off, but it isn't included in the test. Curious how it compares to Glimmer Glass? http://vimeo.com/116316115

I'd go A7s or wait til NAB when all new stuff rolls out. I also just noticed your location. I've been to Bewdley for Boxing day with my relatives the Beaufoy's who raise world champion Staffordshire bull terriers. The countryside around Bewdley is amazing. Will be visiting from USA again this March!

The 2 ways I mentioned don't go together. 1. Bridge to ACR method. 2. Premiere to Speedgrade. Sorry If that wasn't clear.

The ff 1080p 60 of the 1DC is not even close to the quality provided by your fs700 + 7Q. Tried a youth hockey game in 1080p 60fps and the footage was mush. I own both setups and shot side by side just yesterday at a kite festival in bright white snow with vibrant colored kites. The 1DC's 4k 24p log (IN MY OPINION) slightly beat the sony's raw 4k in usable dynamic range, natural color, filmic look, and was extremely portable and easy to blend in to the crowd. That said, The fs700 12 bit raw seems to have more fine detail and can provide rich color and saturation in 24,60,120 fps 4k exactly like a raw still camera that the 1DC can't match. The amount you can push the image is incredible.

I have been using ACR for Cinema DNG's. 1. Browse with Bridge > open folder containing CDNG's > select all. 2. Right click > Open in ACR. 3. Adjust image, then in the upper left corner of ACR, click select all > synchronize. 4. Click save. Done. *If you want to quickly see what multiple luts (like filmconvert) would look like on your newly converted files , open Photoshop >click file > open > select all > check import as sequence > in the Adjustments panel click Color Lookup > select Load 3d lut > select a lut by clicking on it, then double click and hover your mouse on the drop down menu. Use your mouse scroll wheel to quickly toggle through your luts. (in step 4. above, you may have to save as something other than CDNG for PS to apply luts If you have Premiere another way is to open a project, then use the media browser to navigate to your CDNG's (Import won't work) throw them on a timeline and send to Speedgrade via direct link

​I do agree with you about the cadence of the Digital Bolex (at least on my computer monitor). Since you mentioned that you won't be able to tell until you grade it, I am wondering if its down to the refresh rate (Hertz), (or how many times the monitor flashes a single frame out of the 24p per second (say for instance each of the 24 frames flashes 3 times very briefly) of the monitor and hardware output you use? Or is the cadence seen on multiple displays with various outputs (unconverted 24; or 60, 240, 800 etc..), and technologies (Plasma, LCD, OLED) The one thing the cameras you mention as having a filmic cadence (with the exception of the 1dc) have in common is a possible bit depth higher than 8, which would help with aliasing, Just some Ideas. I agree some cameras seem to have a different cadence or judder to their motion (seemingly unrelated to the motion blur of 24p with a 180 degree shutter) and can't identify what it is myself. I do appreciate that article from araucaria.

what am I missing? I see the f65 and f35, and would expect the fs7, f5 and f55 to fall relatively close. Also edited my above post in which I stated s gamut was close to adobe rgb, but was looking at the wrong line. Thanks Andrew for all the knowledge shared over the years.

You're right. I think this is why the fs7 has produced such underwhelming footage for many on youtube and vimeo. ​Although I don't think he mentioned what monitor he is using and it could be within a 1% or 2 of encompassing Adobe rgb if he owns an Eizo or equivalent.

4k and shallow depth of field makes focus difficult as does exposing log without proper assists, So I use this when blending in isn't as important I use an Osprey pack and Think tank straps attached to the camera and cinched up tight. This distributes the weight of the camera to the pack and adds stability (kind of like an easy rig) and then use the grip with my thumb in the notch on the follow focus. Just stash the camera in the pack for transport